Cannes Competition: Chie Hayakawa’s ‘Renoir’ Explores Childhood Grief Within Japan’s Bubble Era

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Renowned Japanese film director Chie Hayakawa, whose work “Plan 75” received a Special Mention for Camera d’Or at the Cannes Film Festival, is returning to the Croisette with her competition entry titled “Renoir”. This is a heartwarming drama that unfolds during Japan’s economic boom in the late 1980s.

The movie centers around Fuki, an 11-year-old girl portrayed by debutante Yui Suzuki, who is both peculiar and empathetic. This summer proves to be difficult for her as she deals with a terminally ill father and a mother under immense work pressure. Hikari Ishida and Lily Franky play crucial roles in the film as well.

Hayakawa’s movie, titled ‘Renoir’, is deeply influenced by her personal experiences of losing her father during childhood. In an interview with EbMaster, Hayakawa shared that she had been contemplating making this story since she was a teenager or in her early 20s. However, she believes that if she had made the film when she was younger, it would have primarily focused on the child’s perspective, potentially resulting in a more somber and darker narrative.”

Or simply:

“Hayakawa’s movie ‘Renoir’ is deeply rooted in her childhood experience of losing her father. She had been planning to make this film since she was a teenager or young adult. If she had made it earlier, it would have likely been more focused on the child and possibly darker.

The director feels that her current life experience provides a unique and valuable point of view. As she is now around the same age as her parents were when she was growing up, and also being a parent herself, she understands the lifestyle and mindset of parents more deeply. This newfound understanding has heightened her compassion towards her own parents and given her a fresh perspective on her past.

As a passionate cinephile, I’d like to highlight that Akiko Hayakawa deliberately positioned her narrative in 1987, the height of Japan’s economic bubble, finding striking similarities with our modern world. “The economy was booming then,” she recounts, “there was an abundance of optimism about our future, and a profound admiration for Western cultures.” It was a time of rampant consumerism, where everyone was engrossed in acquiring everything, often at the expense of family bonds and authentic connections. We were losing sight of what truly mattered and what was real.

The movie incorporates symbolic aspects representing our current cultural period, featuring a reproduction of a Western artwork – the titled Renoir – bought by the main character’s family. As explained by Hayakawa, “There is a brief scene depicting the family purchasing a counterfeit painting. Despite it being a copy, it represents the admiration Japanese people had for Western art. Even though it’s not authentic, they are content with their acquisition.

The collaboration on “Renoir” marked a substantial shift in Hayakawa’s global partnership strategy. Joining forces with Japan’s Loaded Films, Happinet Phantom Studios, Dongyu Club, and Kinofaction, this project also involved Singapore’s Akanga Film Asia, Arte France Cinema, Indonesia’s KawanKawan Media, Philippine production companies Daluyong Studios and Nathan Studios. Previously, Hayakawa had worked with Daluyong Studios on “Plan 75.” Additionally, foreign technical crew members were part of the team during the filming in Japan. Throughout the development phase, Hayakawa received valuable input from producers based in France and Singapore, while during production, French sound recordists and boom operators were present for the entire Japanese shoot.

This cross-cultural partnership turned out to be beneficial. She explains, “Their approach to work is quite distinct, and in terms of technical expertise, the French team seems to excel significantly. It proved to be an excellent chance for the Japanese team to learn.

Collaborating with young actress Yui Suzuki, who plays a crucial role in conveying the film’s emotional depth, turned out to be surprisingly effortless for the director. As it was his first time working with a child actor, he initially believed it would be quite challenging and expected detailed guidance. However, he found that she performed authentically without much direction, making the process remarkably smooth. The director mainly provided instructions regarding her physical movements, as she delivered lines and facial expressions so naturally on her own.

Experienced actor Lily Franky, significantly contributing to the movie, offered a distinct on-screen aura. “He was extraordinary,” Hayakawa remarks. “He was the individual I envisioned when penning the script. Throughout my writing process, I visualized him as the father figure. His directorial instincts are keen, so even without uttering a word or engaging in dialogue, his presence transforms into moving pictures.

Through “Plan 75” and now “Renoir,” Hayakawa admits she’s attracted to characters who grapple with solitude within society. When queried if she intentionally constructs a thematic trilogy, she muses, “Perhaps I have an inherent fascination with human unity, so I might continue exploring that theme.

Regarding her role in the increasing influence of Japanese cinema on the worldwide scene, Hayakawa expresses a hopeful outlook. “Over the past couple of years, an abundance of fresh Japanese directors have been arising, which gives me a great deal of optimism about Japanese filmmaking. We’re keenly aware of the challenges in our industry, so we’re working diligently to bring about change step by step.

She views her experience with international co-productions as having the potential to serve as an inspiring model for other Japanese filmmakers. “Few Japanese directors delve into international co-productions, but there’s a growing number of Japanese filmmakers experimenting with this approach. I believe my journey could offer valuable insights into collaborating on international productions and appealing to a global audience. It provides a spark of inspiration for those seeking to create films that transcend the boundaries of the Japanese market.

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2025-05-17 05:17